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The films of V. Shukshin - "Stoves-benches", "Viburnum Red" arouse considerable interest among viewers and scientists; O. Mindadze and V. Abdrashitova - "The Train Stopped", "Parade of the Planets", "Plumbum, or a Dangerous Game"; M. Mikhalkova – "Slave of Love", "Unfinished piece for mechanical piano", "Tired by the sun"; G. Panfilova - "The Beginning", "I'm Asking for Words" and others.

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A kind of alternative to the European cinema of the 20s was American film art, which was characterized by a realistic reflection of reality in the films of E. von Stroheim (1885–1957) - "Greed"; K. Vidora (1894–1982) - "Crowd"; in the tragicomedies of Ch. Chaplin - "Pilgrim", "Parisian Woman", "Gold Rush" and others.

A characteristic feature of French cinematography in the 30s–60s of the 20th century. was his constant connection with the processes taking place in the philosophical environment. Thus, the creativity of the country's leading cinematographers (M. Carnet, J. Renoir, A. René, etc.), who worked in different historical periods and held different aesthetic positions, was stimulated by the concepts of the outstanding European theoretician A. Bergson. The American "counterculture", which was based on the concept of neo-Freudianism, the idea of ​​youth rebellion, was represented by A. Penn's films "The Chase" and "Little Big Man"; M. Nichols "Graduate"; D. Hopper's "Light Rider"; M. Forman - "One Flew Over the Cuckoo's Nest" etc.

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At the same time, cinematography can by no means be called a "technical" art. Man's primordial need for a figurative understanding of reality gave birth to this mass form of art. Cinema is synthetic in nature, it combines elements of literature, theater, painting, music, choreography. That is why cinematography operates with many expressive possibilities borrowed from other forms of art. At the same time, cinema has its own specific means and techniques, in particular: perspective (angle of view of the film camera), change of plans (general, medium and large), montage, which combines individual frames in a logical sequence and makes it possible to convey the emotional and psychological tension of the episode.

Steven Spielberg –an outstanding American director, a pupil of the Californianuniversity . Yourcreative path beganon television The cinematic debut of S.Spielberg had a film "Duel", in whichin an allegorical form (a big truck is chasingpassenger car) the director condemned any manifestations of violence . This onetape became forSpielberg symbolically , to be surethereby defining the leitmotif of his work- confirmationideals of humanism, which found their embodiment in films of all genres, in which the director worked, – "Shchelep i" (film-kata stanza).The impeccable professional skill of S. Spielberg's films determined the highevaluation of itcreativity on the part of specialists, and most importantly -great interest of the audience . It is indicative of thisofficial sociological fact: afterrelease on the screens of the thirdparts of the adventures of Indiana Jonesincreased sharplycompetition forarchaeological departmentAmerican universities .The real creative triumph of S. Spielberg was the picture"Schindler's List " -or notthe highest achievement of world cinema inunderstanding and tragediesgenocide is terribleof a crime against humanity committedfascists.

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